Anna Nikulina - Bridesmaid Variation 2 - Don Quixote

Ойын-сауық

Anna Nikulina, now a principal of the Bolshoi Ballet, performs Don Quixote Bridesmaid variation 2 from Act III at the Bolshoi Theatre, Moscow in 2005.

Пікірлер: 17

  • @williamdeng1870
    @williamdeng1870 Жыл бұрын

    What a beautiful performance!

  • @gretahassock8914
    @gretahassock89144 жыл бұрын

    This dancer has grace and beauty

  • @claudiapinho-memorias
    @claudiapinho-memorias6 жыл бұрын

    Bravo!

  • @elenacappagli9135
    @elenacappagli91353 жыл бұрын

    como natalia osipova no hay.maravilla.

  • @carmelpule6954
    @carmelpule69546 жыл бұрын

    At first glance I always like the performance of Anna Nikulina but on deeper mathematical analysis of her movements especially her second rate of change of positions, that is, her accelerations and deceleration one notices that she slows down too abruptly at the knees. In this case the vertical drop is arrested too quickly and the Fructus Femoris tendon on he thigh as well as the Achilles Tendon which are used to arrest vertical motion, are not being used in an engineering manner to lengthen the time the momentum is lost and so the result is that the elegance is a little lost due to the stiffness shown. The whole function seems to be pleasant but mathematically speaking the function in her arms are not continuously differentiable as there are jerks. It seems that her hydraulic lines are bled without having any air bubbles in them and on occasions the movements look rather solid when it comes to the hinged locations. In hydraulics if one needs to soften the action one would introduce a gas accumulator in the fluid system to make the action more fluidic. In Ballet the same effect can be obtained through the dancer learning to apply a less damping factor through her mind and not through the losses in the muscular system itself or the air resistance around her. In automatic control system, many people rely on damping an action through introducing additional external dampers or shock absorbers, but in fact on can learn to control the damping of an undamped system by using the right additional function generated at the input, in this case the dancer's mind. One can damp a swinging pendulum not because one introduces dampers or a different medium to swing in, but through applying an additional input which operates on the acceleration and the velocity of the system. Pilots and ship's captains need to get to know the mathematics I am talking about to stabilise their crafts as otherwise smooth flying or other movements would not be achieved. I love to see the operators on those high cranes at the quay which lift the heavy 40 foot containers from the gigantic container carriers in our ports. The operators can apply inputs to make the container travel and traverse to another position, but applying the right additional signal an operator can slow down and bring any swing container to a dead stop, right on the trucks which is to carry it. This is what ballet dancers must learn to achieve an elegant motion. It had all to do with the intelligence of the mind on what signals to generate and where to direct them to what muscle/ tendon , not only where, but at the right time with the right magnitude. I see any high crane driver at our quay loading and unloading those gigantic containers.......as a the brain and mind calculation of a ballet dancer where the operator's mind sets up the signal and his hand operated the control which gives a beautiful ballet performance on the swinging container. Ballet dancers have a lot to learn from the mind operations of crane drivers at the quay and what is more, crane drivers operate their ballet in gusty and constant wind conditions, which Anna Nikulina and other never face such an ordeal where they have to give a good performance in windy and gusty conditions. Crane drivers know how to do it as they operate the cranes with their minds and not their limbs. Before training a ballet dancer, the person must be capable of mind operations and not simply training to grow muscles and reducing weight. In this case I feel that Anna Nikulina could do with some additional signals generated in her mind to control the rate at which she cuts down that vertical momentum to make the action more elegant, As it is it is too hard and stiff. As for her arms she could do with a little reduction in those accelerations and deceleration . Science and mathematics need to join forces with arts to create the correct motion to achieve the right emotions.

  • @zeddnl6514

    @zeddnl6514

    5 жыл бұрын

    wow, that is one heck of an analysis

  • @timothyk9086

    @timothyk9086

    4 жыл бұрын

    Yikes

  • @colinorpe9133

    @colinorpe9133

    4 жыл бұрын

    Well yes, if you say so.

  • @patty7791

    @patty7791

    3 жыл бұрын

    Carmel Pule' Huh?

  • @user-wb2oh9hh2f

    @user-wb2oh9hh2f

    Жыл бұрын

    Шутка? или спятил, крановщик?

  • @user-gz4pn3ub6h
    @user-gz4pn3ub6h8 жыл бұрын

    I′m so jealous because the Russians have long limbs.

  • @reanimato1

    @reanimato1

    8 жыл бұрын

    Believe me that not all Russians have long limbs. The secret is that with short limbs you will never find yourself in a state ballet academy. Not even talking about Bolshoy or Mariinsky theaters.

  • @princessmarlena1359

    @princessmarlena1359

    Жыл бұрын

    The better to get through the snow. 😉

  • @antonyakubovskiy1887

    @antonyakubovskiy1887

    8 ай бұрын

    У нас длинные руки

  • @MarianaA6

    @MarianaA6

    5 ай бұрын

    Me being a dancer and mexican (im pocket sized🔥)

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